Pages from hugard's magic monthly vol 10

Hugard's

MAGIC

Monthly

DEVOT E D S O L E L Y T O T H E I N T E RE ST S O F M A G l C A N D M A G lI C I I A N S VOL. X No. 1

j

u NE

40 CENTS

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S. A. M. CONVENTION IN BOSTON (BACKSTAGE with FRANK JOGLAR) The most talked-of trick at the Boston convention was not performed on any show, nor was it entered in a contest or on sale at a dealer's display. It was performed several times in room 419, at the Statler, where Ken Allen exhibited the Abbott line of legerdemain. Two friends held a blanket in front of Ken, there was a 30 or 40 second waiting period, the blanket was dropped, Allen had disappeared. The curious, in groups of eight and ten, were allowed behind the counter where they could search every nook of the display room and the adjoining bathroom. When the spectators were again herded in front of the counter the blanket was held up for a second time. After another half minute, the wooly shield was lowered, Ken Allen was back ... Congratulations, Ken, on spotting the peculiarity about room 419 so quickly and being agile enough to take advantage of it.

If you could package similar rooms for the mail order trade Abbott would have another best-selling novelty ...

Almost 550 magicmakers trekked to Boston to enjoy the Golden Anniversary Conclave ... Leslie Guest is the new National Prexy. Cincinnati will be the 1953 convention city . . . The most eye-popping news story was the statement by Mystic Craig that Houdini carried his escape gimmicks in a specially-made dental plate fitted to the roof of his mouth.

audience with two penetration effects.

Norman Howe has a whacky quizz show with the ladies getting all the better prizes. Typical prize for male participant — a cigarette lighter. Norm took one cig from the pack and gave away the pack "one cigarette lighter" (catch on?) . . . Carol Hartshorn and John Connolly conjured with flowers, silks, cigs and paper panties. She had a nice smile and ingratiating

Hu-Gardenias to LONG TACK SAM

for his wonderful work as Master of Ceremonies and his amazing act of Chinese Magic at the opening show of the Golden Anniversary Convention of the Society of American Magicians sponsored by the Herman Hanson Assembly No. 9 at the Hotel Statler in Boston, Massachusetts on May 29th.

Long Tack Sam kept the show moving at a fast pace and his superb and inimitable act of Chinese Magic made a fitting climax to the finest magic show that one could wish to see.

NIGHT BEFORE PARTY

Ace Gorham piloted the opening show, peppering it with funny gags and amusing tricks. Joe Kenneally caught attention immediately with his vanishing silks in glass tube. Herb Downs next with talk and tricks. Professor Steve Simpson demonstrated the visual appeal of cold light with a blue to green color change on a blacked-out stage. Then by adding more of his mixtures he turned the liquid brighter and duller by turn.

Fascinating! Frances Ireland charmed her two small boy assistants and the

manner . . . Bill Bell was a treat for sleight of hand fans with his unusual handling of thimbles, silks, card fans and a Chinese Stick routine without the sticks. Tasseled cords, one in each hand, lengthened and diminished as he twirled them . . . Ed Hammond in funny suit and felt hat offered burlesque magic. His hoked-up Rice Bowl routine was a solid laugh producer . . . Final act —the RossKams.

High spot — a gagged-up spirit seance

with such surprisers as a skull from cooking pan and Charlie's bow tie that lighted up to tip off the name of the selected card . . . The convention was off to a fine start.

CONJURING COLLEGE

First on the seminar for sorcerers was Frances Ireland with amusing tales of trouble with tots and the perils of performing at children's parties. In the "With Francis in Magicland" vein and indeed with many of the same stories in the book she sped through a talk that was worth dollars in the bank to any performer . . . Vynn Boyar scored with his illustrated "Modern Card Magic". His material was carefully prepared, well delivered. The moves were broken down step by step so that they could be followed ... Saturday, Long Tack Sam told the astonishing story of his early days as a magician and Bert Allerton demonstrated his handling of various tricks, most of them with cards . . . Later, on Sunday, John Scarne talked on "Misdirection". This was in the main a question and answer session with the gambling expert showing ways to deal, change and shuffle the pasteboards . . . Too bad that notes weren't provided for the spectators as they were at the last two conventions.

FRIDAY NIGHT SHOW

Best of the convention shows was that sparked by Long Tack Sam. Fu Ling and Co. opened with an impressive pagoda background. Flowers from paper cone, Aerial Fishing, the sand trick, two tube production, etc. The latter production was ended under Strobelite with the silks, pagoda and the costumes of the performer and his assistants shining in the dark with the hues of a rainbow. Very effective . . . Bob Porter as a tipsy silent wizard had the most useful lamp post I've ever seen. From its various secret compartments he took gadgets as (Continued on page 949)

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Hugard's MAGIC Monthly

BOOK PROFILES

by JOHN J. CRIMMINS, JR. MOHAMMED BEY'S ROUTINES FOR THE JARDINE ELLIS RING ON STICK AND RING ON ROPE. An 8-page printed booklet with illustrations by Dr. Jaks. Published in soft board covers by Holden's Magic Shops, New York & Boston. Price $2.00. The appearance of this book of 4 routines will gladden the hearts of every lover of this grand classic of magic, "The Ring On Stick." Regardless of the routine you may have worked out for your own presentation with the Jardine Ellis gimmicked ring, I can assure you that you've never seen such real magic as you'll find in two of the routines by Mohammed Bey (S. Leo Horowitz). The booklet gets its name from his routines and they are by far the cleanest and most baffling of all those I've seen. For some reason or other, Jardine Ellis' own routine has never been published, and it has been up to the individual performer to create his own routine with the Ellis ring. Several have done so, others have set it aside awaiting a truly magical routine. Well, here it is, and by a master of misdirection.

The first routine uses either a wand or a pencil upon which you cause the ring to become threaded while both ends of the stick are held by a spectator. Then you repeat it immediately. The moves are so natural and disarming that you'll actually drool over them. The second one is unique and original, for you cause the ring to become threaded on a long loop of rope which you form around your neck and leave hanging down in front of your body. Both tricks are, of course, ideal for close-up work but with the new, highly polished ring that's now available, the two effects are equally good for platform and stage presentation. I don't recall when I've been so enthusiastic over a trick or routine as I am over these two. My advice is to get it now before your brother magicians fool you completely with it. I can think of no higher praise than to say that both of these Horowitz routines might well have been issued by the Stars of Magic.

MAGIC AN A Remember: It's the rubbing that brings out the shine. *

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Be moderate in all things but don't be excessive in your moderation.

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In addition to the two routines mentioned, the booklet also gives another unusual routine by John Howie called "Ring and Ribbon," in which you visibly remove the ring from the ribbon.

This could well follow either of the above routines, and for platform work it's excellent. Also included is a fourth routine by Bill Nord called "The Ring on Pencil." This routine is most unusual and utilizes Nord's "Bill-Z-Bub" gimmicked pad. If you own this fine trick, you'll really appreciate this new routine with the Ellis ring. Thus in all, the "Mohammed Bey's Routines for The Ring and Stick, and The Ring on Rope" gives you four first class effects all carefully explained in large type on large 8%" x 11" pages. It's one of the best buys in magic today.

Don't miss it! *

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FAST ONES—by Ovette. A 40page offset reprint with nine illustrations. Published in soft boards by Lloyd E. Jones. Oakland 19, California. Price $1.00. This marks the second of Joe Ovette's books to be reprinted, and this one was one of his best books. There are contributions

by Louis Lam, Ovette, Wm. Rueskamp, A. N. Rossi and Wu Ling, and cover a wide range of effects from card tricks to live stock vanishes and productions, mental stunts and general miscellaneous magic. Like most of Ovette's published tricks, each one has some novel twist worth noting.

Some 29 tricks are explained including Germaine's "Butterfly Trick." To the best of my knowledge this is the only explanation of this magnificent effect in print. Whether it is accurate or not, I'm not in a position to say.

Paul Fleming is the only magician I know who still presents the effect in his act using Germaine's actual apparatus. Recommended.

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Those who are not fortunate enough to have one of the fine Ellis rings will be happy to hear that the Holden Magic Shops — through special arrangements with L. Davenport & Co. of London — have had made up a special supply of the ring. Just ask for the Jardine EUis Ring on Stick. It only costs $1.00 and comes complete with the original Davenport instructions. Armed with this ring and the Mohammed Bey routines you'll have one of the greatest feature tricks in magic.

MULTIBALL—by Dr. Jaks. A onepage sheet of instructions edited by Bruce Elliott with 9 illustrations by Dr. Jaks. Marketed through Holden's Magic Shops, New York & Boston.

Price, complete with sponges, $3.00.

Here are the complete, detailed instructions for Dr. Jaks' novel and surprising presentation of the Sponge Ball Trick. Most of our readers saw Dr. Jaks present this baffling comedy routine at one or more of the national conventions, and now for the first time it's yours complete. Those who may not know it have a surprise in store for them, for this is not the usual sponge ball routine. In Dr. Jaks' presentation only small sponges are used which makes for unusual ease in handling. However, there's more behind it than that, for as a climax literally dozens of small sponges gush forth from the spectator's fist when he opens it for the last time. It's a grand trick replete with comedy, and is typical of the unique routines for which Dr. Jaks is so well known.

Highly recommended.

METHODS FOR MIRACLES No. 8—Two Edward Victor Card Effects.

Edited and published by Willane in soft board covers. 18 pages with 28 photo illustrations. Price 50c. The two card effects featured in this now well established series are the "Sympathetic Reverse" which utilizes and old dodge but produces a striking effect, and "The Card In The Aces," a novel and welcome substitute plot for the overworked card in wallet effect. In the first effect the deck is cut and the two halves are placed face to face after a card has been selected. This card subsequently rises from the deck, then turns about visibly, whereupon the whole deck rights itself. In the second effect a chosen card is found in a packet of 4 aces which have been very openly and fairly counted onto a person's hand. Both are excellent impromptu effects which may be performed with anyone's deck. You'll like these. Recommended!

Just as we go to press the following books have been received which we'll review in the next issue: "Hen Fetsch's Secret," Peter Warlock's "Technicolor Follow The Leader," Irv Weiner's "Flabbergasting!", Teral Garrett's "Psycho No. 4," Tommy Windsor's "64 Ways to Make Magic Pay," and George McAthy's "Smart Talk With Added MaterialBook No. 1."

BOOKS FOR REVIEW should be sent to John J. Crimmins, Jr., 265 Park Hill Avenue, Yonkers 5, New York.

Hugard's MAGIC Monthly

DOUBLE BILLEMMA

by HARRY LORAYNE Here is one of my favorite close-up routines. I believe it has everything that a table routine should have: interest, humor and mystery. I don't think you will find any new moves or sleights here; however, I will give a description of each move for those who may not be familiar with them.

A very little preparation is necessary, but the effect is definitely worth it.

Effect: Here is the basic effect: Magician borrows a dollar bill and proceeds to tear it in halves. He crumples each half into a loose ball and puts them both on the table, in full view. He has the spectator select half, tells him to open and flatten it out, and to record it's serial number.

The magician then folds this opened half once, to form a sort of basket. In this he places the crumpled half of the bill. He hands this to the spectator to hold; but on doing so, he allows the fold to open, and it is seen that the crumpled half has completely vanished. The magician acts as if surprised, and then produces the crumpled half bill from the spectator's pocket, beneath a coffee cup, or from under an ashtray or what have you.

He now crumples the other half of bill, and says he will make the two halves come together by magic. After a bit of byplay, this is actually done.

I.E.—one moment the spectators see two crumpled half bills and the next they see only one crumpled ball.

This is handed to the spectator — he opens it and checks the serial number with the one he recorded. They are the same!!

'g. / ~Performers v/eu).

Preparation: Obtain two dollar bills; not too new and not too old, in sequence. In other words, the serial numbers should be the same, up to the last digit. Now take a regular rubber eraser (any good pencil eraser will do) and carefully erase the last digit on each of the two bills. The serial number appears twice on all bills, so be sure you erase the last digit on both places on each bill.

Now, tear one of the bills in halves.

Only one of these halves will be used for the routine, so just save the other one. You should now have one whole bill and one half of a bill, each with the same serial number. Just crumple each one into a loose ball. You will be able to distinguish which is which, because the ball made of the half bill will be somewhat smaller. Keep them in a pocket, where you can get at them easily, and you are prepared to do the routine.

Method and Presentation: The first thing that must be done, before starting, is to load the crumpled whole bill into a spectator's pocket; or any place else that you wish to produce it from, when the time comes. I find it most effective when produced from, the spectator's pocket, and it is a simple matter to load it there, in the course of a previous trick.

Have the spectators sitting opposite you at a table. Secretly place the prepared crumpled half bill on your lap.

Now, ask for a dollar bill — try to choose one of medium age, similar to the one you loaded in the spectactor's pocket. When you take the bill, make sure that your hands are seen to be empty. It might be a good idea to pull up your sleeves even before you start.

Hold the bill with both hands and pretend to tear it into halves. Most of you know the move — for those who don't, here it is: The bill is held up in both hands. Actually, only the thumbs and forefingers hold the bill.

The thumbs are facing the performer, and the backs of the fingers are towards the onlookers (Fig. No. 1). Now, the left hand turns slightly inward (towards your body), the left forefinger and thumb slide downwards, causing the left half of the bill to fold into the right palm. As the fingers move, the left forefinger nail scrapes against the bill, the sound of this is almost exactly like that of a bill tearing. As soon as the left fingers leave the bill, the left hand closes, as if it held half of the bill.

The move should be done in one snappy motion, and if done correctly, is a perfect illusion.

As soon as the move is completed, both hands should make movements as if crumpling the half bills. The sound made by the bill being crumpled in the right hand, seems to come from both hands.

Now, comes a very important little

bit of acting. Slap both hands down near the table edge, as if you were placing the two halves of the bill there. Allow the crumpled bill in the right hand to roll into view; then lift the open left hand, look into your lap, say, "I'm sorry", and very NONCHALANTLY reach into the lap with your left hand. Pick up the crumpled half that's been there all the time, and without batting an eyelash, place it on the table next to the borrowed crumpled bill.

Crumpled bill inside.. ?. 2 Half bill partly folded upioard.

This last must look as if you simply dropped the half bill into your lap and then merely replaced it on the table! There's nothin' to it.

The position now is this: The borrowed bill is crumpled on your right, the half prepared bill is crumpled on your left, and the crumpled prepared bill is in a spectator's pocket. The spectators think they are looking at two halves of the borrowed bill.

Have the spectator point to either half — here you use the take it or leave it force or magician's choice and make sure that he gets the prepared half bill. Have him open it and record the serial number. The impressive part here, is that the spectators actually see a torn half of a bill.

After the number is recorded, take this opened half with the left hand; at the same time your right hand picks up the crumpled bill with the fingers towards the spectators and the thumb at the back of the ball. Slide the bill back towards the edge of the table, lift it and place it on the opened half bill. Fold the opened half bill up around the crumpled one (Fig. 2.).

Start to hand this to the spectator; and accidentally (?) allow the opened half bill to fall open, and of course, the crumpled bill falls to the table.

This is the "feint". Now —do exactly the same thing, but when the right fingers slide the crumpled bill towards the table edge, allow it to fall into your lap! Do not hesitate for a second. Because of the positions of the fingers, it will appear as if you are still holding the bill. Apparently place it in the opened half bill as before. Again allow the fold to open, and let it be seen that the crumpled bill has vanished. Remember, please, that the moves must be done exactly as the "feint".

Act as if surprised for a moment,

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then produce the loaded bill from the spectator's pocket!

Leave the crumpled borrowed bill on the lap. You now have before you on the table, the crumpled prepared whole bill, and the opened prepared half bill. Recrumple the half bill, and tell the spectators that you will cause the two half (?) bills to come together by magic. At this point, do any move which makes the spectators think that one of the balls is going into the left hand whereas it actually remains in the right. Of course, the left hand remains closed as if it were holding the paper ball. Now pick up the other one and hold it in the right hand. (Both are in right hand).

Make crumbling motions with both fists, slowly open the left, showing it empty. Open the right hand, allow both crumpled bills to roll onto the table, saying, "There, I made them come together by magic!" This is said tongue in cheek, of course.

Now say that you will really do it.

Hold the half bill in the left fingertips, and the whole bill in the right fingertips. Bring the left hand to the mouth, blowing on the bill. The right hand rests on the table edge as this is done. Now bring the right hand to the mouth, blowing on that bill. The left hand moves down to rest on the table edge. While you blow on the right hand bill, allow the crumpled half bill in the left hand to drop into your lap! Now bring the hands together as if you were pressing the two crumpled bills into each other. Spread the hands and show that there is now ony one crumpled ball.

If the moves are done exactly as described above, you will find that the misdirection is perfect, for the vanish of the left hand, half bill.

Allow the spectator to open the crumpled bill. He finds it completely restored! Make sure that he checks the serial number against the one he recorded from the half bill. They will match!!!

If you don't want the spectator to keep the prepared bill, you can take it from him under the pretense that you didn't mean to crumple it; and, of course, give him a new bill in exchange. You could switch the bill magically — perhaps make it change to two half dollars, etc.

Of course the crumpled half bill, and the original borrowed bill are still on your lap. Get them into your pocket at your earliest convenience. * * * Please don't let the length of this explanation deter you. The routine is short, has plenty of magic and is easy to do!

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MIND OVER MATTER

by GEORGE ENGEL PRESENTATION AND PATTER

"Ladies and gentlemen, tonight I would like to demonstrate the power of mind over matter. For the purpose of this test I shall use two decks of playing cards ... Will you two gentlemen be kind enough to act as representatives of the audience?

"The first deck is brand new with seal unbroken." (Fan the cards so that the spectators can see them).

"Mr. A, would you please remove the joker and write your initials on the face? ... Put the joker back on top of the deck and tear off about three inches of scotch tape and affix it to the back of the joker. One moment, please. Before doing this I would like you to verify to the audience that this is your signature on the Joker." (Show the joker to the spectators.) "I will now stick the joker on the wall in plain view of all of you." (Put the balance of the deck back in its case and seal it with tape).

"Mr. A, please keep this pack in your possesison until the end of our test... Mr. B, I will first shuffle the second deck." (Shuffle and fan the cards so that the audience can see that all cards are different and the pack well mixed). "Now, will you be kind enough to select a card? Oh, no! One moment please! Take the pack in your own hands and deal the

Hugard's MAGIC Monthly A monthly publication devoted solely to the interests of magic and magicians.

JEAN HUGARD Editor and Publisher 2634 East 19th Street Brooklyn 35, N. Y.

Subscription Rates 1 year, 12 issues, $4.00 (6 issues for $2.00)

cards face down one at a time and stop whenever you chose... Is this the card that you have freely selected? . .. Will you please name it and show it to the audience? ... Did you say it was the three of hears? ...

We will now try our test.

"Will every one in the audience please cooperate by saying 'Three of hearts leave the pack,' three times? ...

Thank you! One more favor, please ...

Will you say, very slowly, 'Joker go home'? ... Now let us hope that our test has been successful.

"Mr. B, will you remove the card which is affixed to the wall? ... Great!

It is no longer the joker but the three of hearts.

"Mr. A, will you open your sealed deck of cards? ... Is the three of hearts still there? ... Will you show the audience the card between the two and four of hearts in your deck?

Is it the joker which you initialed and affixed to the wall?

"Thank you very much for your assistance."

Preparation: A red deck is arranged in sequence by suits with the hearts on top and the Joker at the face of the deck. The ace, deuce, and three of hearts are removed. The ace and deuce are placed in a duplicate card case in your left hand coat pocket.

The three of hearts is in your right hand coat pocket. The arranged deck may be resealed in the case to make the effect stronger. Otherwise just put it in the case.

A blue deck is arranged as follows: the first 26 cards from the face are indifferent cards. The top 26 cards are 13 three of hearts alternating with thirteen indifferent cards. Have a dark pencil and some Scotch tape on your table.

Method: Remove the cards from the red case and place the case in your left coat pocket. Fan the cards towards the audience showing that it is a new deck. Invite a spectator to remove the Joker and write his initials on the face. While he is doing this casually remove the duplicate case from your pocket and leave it on the table. Palm the three of hearts from your right pocket. Pick up the deck with your left hand and ask the spectator to put the joker face down on top of the deck. Then request him to tear off two inches of tape. While he is doing this add the three of hearts to (Continued on page 950)

Hugard's MAGIC Monthly

MILBOURNE CHRISTOPHER'S COLUMN As an old exponent of topical tricks I was happy when Bill Nord recalled LuBrent's stunt of rolling a brown "Between the Acts" miniature cigar in cigarette paper. With one of the cigarette companies claiming that its product is firmer when the paper is peeled off, Bill suggests that this is a perfect time to use the LuBrent idea.

With the preparation mentioned above you can strip off the paper and light up the tobacco with no fear of it falling apart.

Again this is an appropiate time to do the brassiere trick. You know, the one that appears a la 20th Century Silks between two knotted silks. The patter, of course, would be about the raids the college boys have been making on sorority houses.

Topical or not there are many performers who will not use the brassiere trick. I'm one of them, but for those who do use it the news tie-in will add an extra punch to the presentation.

ANOTHER ROPE ROUTINE At the S.A.M. Parent Assembly "Al Baker Night" I stretched a short rope into a long one, then I maneuvered two spectators to the stage by going down and having them hold the ends tightly. With a smile I tugged them up to the platform.

I had a bracelet examined, then one assistant examined a pencil. I told him to wave it over the rope. I drew my hands apart. There were now two ropes each as long as the one had been.

I tied the two ropes around the pencil, then had the bracelet threaded on the ropes.

The spectator to my left removed his coat. Two ends of the ropes were passed down each sleeve, the spectators held the ends with the coat suspended in the middle of the ropes.

I took an end from each spectator, tied an overhand knot and passed the ends back to the spectator. Each spectator now held a rope in each hand.

I reached under the coat and removed the ring from the ropes. Then I apparently pushed the pencil through the center of the coat. Finally the coat came free leaving the ropes still taut between my two assistants.

The "Stretching a Rope" method is still in print in my book of the same name. I used the first of the two methods described.

The method of changing one rope to two was new. Here it is.

MULTIPLYING ROPES I had a wooden pencil in the breast pocket of my shirt. Over the end of this was put a coiled rope of the same length as the one I stretched. , The coil was made of six inch loops.

Figure 1.

After getting the spectators to the stage, I gave the bracelet to the man on my right for examination. The "stretched" rope I had previously coiled in six inch loops on my right hand. Figure 2.

As soon as the spectator started looking at the bracelet, I reached with my right hand, took the pencil from my pocket and passed it to the man

coiled ropes in front of my body and held them as one, a hand on each side.

Figure 4.

When the spectator waved the pencil I drew my hands apart, each held a coil. I let the coils unwind to the floor at the same time. Two ropes!

Figure 5.

ROPES THROUGH COAT The two ropes were tied around the pencil with the "Cords of Phantasia" move. I used one instead of a number of rings to simplify the effect.

After I removed the pencil under cover of the coat and held up the

^1 2 COILED ROPE OVER PENCIL IN SHIRT POCKET

COIL ON PENCIL \ - / IS COVERED

BY COAT

RIGHT HANP STEALS COIL AS IT REACHES FOR PENCIL

&OTH HANDS HOLD TWO COILS AS ONE

HANDS SEPARATED TWO COILS UNWIND

on my left with instructions to examine it. Figure 3.

You will remember that the coiled rope was in my right hand. When I reached under my coat I added the coiled loop (which was around the pencil) to it as I removed the pencil.

The second rope matched the first rope, my right hand was dropped to my side as soon as the left hand had taken the pencil and passed it to the spectator.

This was, and is, a perfectly covered, even if bold, method for stealing a rope.

I turned to the right and asked if the bracelet was solid. Then to the left and asked if the pencil was what it seemed to be.

I told the spectator who held the pencil to wave it over the rope. So that he could do this I brought the

released ring, I put both my hands under the coat again. This time I held the two loops with my left hand so that the coat wouldn't drop off.

I palmed the pencil with my right hand.

I brought my right hand to the front of the coat, while my left hand (through the center of the coat) bunched the coat around the pencil which my right hand still concealed from view. I then apparently pulled the pencil through the coat.

The climax was removing the coat while the spectators keep a tight grip on their ropes.

If you have forgotten the "Cords of Phantasia" move you can find it on page 357 of the "Tarbell Course", Volume 4. Ottokar Fischer introduced this to magic. Instead of a wand I used a pencil and instead of a silk

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Hugard's MAGIC Monthly

I used a coat as in "Coat, Rope and Rings", page 329 "Tarbell Course", Volume 1.

Just for the record I used a slightly different presentation on the Garry Moore Show, CBS-TV a week or so before the Parent Assembly Show.

In this presentation two copper beer mugs were left on the ropes after the coat had been pulled away.

ONE INTO TWO Though I now prefer the method outlined earlier for changing one rope into two, you may want to refer back to page 420 of the May, 1948 Hugard's MAGIC Monthly. There I described another way to accomplish the same effect.

The more methods a magician has at his command, the better he is prepared for all circumstances. The other method was titled, "One Into Two." VICTOR'S RING RELEASE While I'm on the subject of ropes I believe you'll like Edward Victor's trick, "Ring Release from Cord." On the cover of Willane's "Methods for Miracles No. 2" it's called "Ring Release from Rope" and is so listed on the title page and elsewhere in the booklet.

The handling is unusual and the effect is excellent. The booklet may be had from the Fleming Book Company.

MOHAMMED BEY'S METHOD Still another fine "Ring on Rope" trick is that of Mohammed Bey (Sam Horowitz), which the Holden Magic Shops are distributing. He uses the Jardine Ellis Ring and has worked out a marvelous presentation.

The Jardine Ellis Ring, by the by, is now available in a form that will intrigue all who like to carry tricks in their pockets. Mohammed Bey also has an effective "Ring on Wand" which makes use of it.

PENCIL PASS If you get two of Jimmy Herpick's "Phantom Pencils", which Lou Tannen sells, you can present a surprising vanish and reproduction.

Put one of the pencils in a coin purse before you perform. During your show display a long pencil, drop it in a paper cone, crush the cone.

The pencil has vanished.

Take out the coin purse. "I have a nickel in my purse. Anyone could change it into a pencil by going to a stationery store but I'll do it the magic way."

Make a pass over the purse, unsnap

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SLEEVING-AN ART LAST IN A SERIES OF LESSONS compiled by ROSS BERTRAM Well, dear Students, you have been most patient all this time, for we now have reached the final lesson in this series. Yes, this field is still young, but, we think you will agree that you have learned a great deal about the Art of Sleeving. It has been our aim to give only the methods which would have the greatest appeal. Perhaps at some future time should the interest warrant it, we may give a series of tricks with a variety of objects, based on Sleeving. Now, on with the Lesson which we call FROM THE CLOSED LEFT HAND With your right side towards the audience, a coin is displayed on the palm of the left hand. The fingers close concealing the coin.

The right hand passes over the left fist. You will find that during this action there will be a slight inward motion of the left forearm; the fingers are relaxed and the coin, resting loosely in the left hand is allowed to shoot out and into the right sleeve.

The left hand retains its closed position, while the right hand turns palm upward. Both arms come to rest so that the elbows are touching the body on their respective sides; the hands should be about eight or ten inches apart.

You might patter, "If I place my left hand over here", (extend the left arm straight out from the body in line with the shoulder, the hand still closed) "and the right hand over here" (turn the right hand palm downward, curl the fingers inwardly. Now extend the right arm sharply and hold at shoulder level. This will propel the sleeved coin into the cupped hand it, reach in and produce the other long pencil.

Due to the construction of Mr. Herpick's pencil you can take it from the purse without making use of sleight of hand.

FLOSSO TIP If you have occasion to paste cards together Al Flosso passes on a practical tip.

Buy a small frame at a photo supply shop. The kind of frame that has a back which hinges at the center and locks at each end when a metal clip is turned. Though designed for printmaking, these frames will hold cards together with the needed pres-

which closes completely about the coin. "If I could cause the coin to leave my left hand and appear in the right hand it would be a good trick, notice that my two hands do not come together". "Now watch!"

Crumble or work the fingers of the left hand a little then open to show empty. Attention will now be directed to the right hand — work the fingers a little, turn the hand over and open, showing the coin.

SOME HELPFUL HINTS If the shirtcuffs are long and appear to get in the way, or if you should be wearing French cuffs, unbutton the cuffs before performing draw the sleeves up at the shoulder and make a downward fold, which will remain held in position by the weight of the suit-coat # * # To enable you to pick up an object from the table with a coin already sleeved, the following elbow-lock can be used to advantage. After sleeving the coin, extend the arm as a gesture, so that the sleeve of the suit-coat is drawn back off the wrist and somewhat wrinkled above the elbow. Any nearby object can now be comfortably picked up by keeping the arm a little flexed. # * * Finally, for successful sleeving, it is imperative that there be no backward-and-forward jerk of the arm which would betray the act of sleeving; all movements must be smooth and rythmic, incorporating where possible, gestures natural to the performer. Good luck, and don't be a former.

Good luck, and don't be a "Jerk". sure to make your adhesives hold fast.

Instead of looking around for a heavy book to put on your glued cards, simply lock them in the frame.

FRAGRANT FLOWERS Believe it or not Abbott's Magic Company is actually selling perfumed feather flowers. I can imagine the plight of a married magician who packs one of these pungent blossoms in his suitcase at the start of a trip.

He returns home and his shirts and other wearing apparel retain the scent from close association with the flowers in his bag. Visualize his wife's reaction!

Hugard's MAGIC Monthly

FARELLI'S LONDON LETTER THE SMOKING SAILOR (A Novel Close-Work Effect) Gentlemen, In the hope that this unusual little trick will become as popular in the States as it is in England, I shall describe it fully.

EFFECT The magician borrows a pack of Player's Cigarettes, removes the drawer portion, and stands the empty cover on the table.

With any suitable instrument — such as a sharp pencil — he makes a small hole in the sailor's mouth, and inserts therein a tiny cigarette.

He then lights the tip of the cigarette, and the sailor at once begins to puff smoke out of the lit end.

When there is no draught in the room, a series of perfect smoke rings will be formed, and this continues until the cigarette is entirely consumed. A very pretty and puzzling effect.

REQUIREMENTS A. A Number of Strips of Xylonite.

Each is about three quarters of an inch long, one sixteenth of an inch wide and the same in thickness.

Here in London, it is difficult to get sheets of Xylonite (a form of celluloid), but I have obtained absolutely perfect results with the "collar stiffeners" supplied by Messrs.

Austin Reed, the well-known outfitters. These gadgets are used to keep soft collars in shape. They are made of (white) Xylonite, and they measure two inches by a quarter of an inch.

Care must be taken to use the right kind of material, or the trick will not work. I am told that some types of transparent celluloid give satisfactory results, but I know that photographic film is useless.

B. A Pack of Cigarette Papers. I have experimented with various makes, and I have found that ZigZag —• Red Cover — gives the best results. This paper is manufactured in France, and I presume that it can be obtained in America. The trick will work, after a fashion, with other brands (Job, Rizla and G.A.), but only too often, the cigarette goes out and has to be relit, and this greatly detracts from the effect.

PREPARATION The following is a quick way to make up a supply of tiny cigarettes.

Take one of the "collar stiffeners", and with a strong and sharp scissors

cut it — lengthwise — into four strips.

Each will be two inches long, and a sixteenh of an inch wide.

Roll one of the strips — fairly tightly — in a cigarette paper, more or less as if you were making an ordinary cigarette. The paper is a trifle longer than the Xylonite strip: cut off the surplus paper at both ends.

Now, cut the roll, just formed, into three equal parts, and you will have three tiny cigarettes, each about three quarters of an inch long.

Treat the three strips that remain in the same way, and put them in any suitable container. Personally, I carry a supply of cigarettes in a small silver matchbox which is attached to my watch chain. * * * Provided that you can obtain a sheet of Xylonite of the required thickness (about a sixteenth of an inch), a still better way to prepare the strips is to use a photographic trimming machine. With it, strips of 1/32 of an inch can easily be made.

These are still more satisfactory.

"face" was painted on a block of wood. Lenz, the Anglo-Indian magician, saw a version of the Smoking Sailor about the same time, but he did not learn the secret until quite recently.

Mr. Gus Davenport, of Davenport and Company the London dealers, reports that, about eighteen months ago, a layman did it in a private club.

Mr. Francis White, secretary of the London Magic Circle, states that, early this year, a member of one of the magical societies purchased the secret, for the price of a glass of beer, from somebody in a saloon. It was this local magician, whose name I do not know, who popularized the trick in London. * * * Explanations of the effect have appeared in the April issue of "The Magic Magazine" and in No. 326 of "Abracadabra", but at the time of writing (May 8), I have not come across any reference to it in the American magical publications that reach me.

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No mention of this trick will be found in any of the very old magic books — such as "Hocus Pocus Junior" or other works published in the seventeenth century — for the simple reason that Xylonite was not invented until about two hundred years later.

(Nor, for a matter of that, were cigarettes) .

• * * In my opinion, nobody actually "invented" this trick. It seems highly probable that some misguided conjurer happened to roll up a bit of Xylonite in a piece of paper, and then lit it. (Perhaps he was trying to make a "smoke bomb"!). Much to his surprise, no doubt, he discovered that it gave off puffs of smoke, and he then worked out a routine to suit the new principle that he had hit upon by accident.

Pure conjecture ...

WORKING Exactly as explained under the heading "Effect". Usually, the cigarette will flare up, and when this happens, the flame should be blown out at once, and the paper allowed to smolder.

ORIGIN Mr. Jack Potter of the "British Ring" remembers seeing a similar trick — similar in effect if not in method — at the Southport (I.B.M.) Convention held before the war. The

VARIATIONS Many methods of presenting the trick will certianly present themselves to the reader. In the meantime, here are a few rough ideas which, for the consideration of space, I shall describe in the Martin Gardner telegraphic style.

1. Rubber Face. From a novelty store, obtain a rubber ball fashioned to resemble a face. (Size: about an inch and a half. Price: a few cents).

By squeezing the ball between the

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Hugard's MAGIC Monthly fingers, comical faces are produced.

Make a hole in the mouth for the cigarette. Having lit the cigarette, hold the ball in your hand for a moment. The spectators will think that the "puffs" are produced by manipulating the ball. Then stand it in the mouth of a small glass and let it continue to smoke.

2. The Invisible Man. Make up a slightly longer and thicker cigarette, and put it in the smallest holder that you can get. Lay across mouth of a glass. Provided the end inserted in the holder is not twisted up, a little smoke will issue from the mouthpiece, and rings will be "puffed" from the cigarette as usual. State that an invisible man is smoking.

3. My Old Dutch. Years ago, all over Europe, this was a popular "gag".

Wrap a colored handkerchief partly round your closed left fist, and with a lipstick and black cosmetic paint the fingers to look like the face of an old woman. Insert cigarette in mouth, and remark that your Old Dutch enjoys a smoke. (In Cockney slang, Old Dutch means wife).

4. Professional Calling Card. This idea should prove of value to professional performers. On the back of your calling card have a sketch, or photograph, of yourself. Make hole in mouth. Insert cigarette, and get somebody to hold card while cigarette burns. Let him keep card as a souvenir.

5. For the Stage. Prepare a cigarette of normal size. (2% inches).

Drill a quarter inch hole in the center of an ordinary school slate. With chalk draw a face on the slate, and pas for examination. Borrow a cigarette. Switch for duplicate as you return to stage. Insert in hole and light. This version should never be performed at close quarters as the smell of the burning Xylonite would expose the secret. With the tiny cigarettes, however, the slight odor is imperceptible.

It is to be hoped that no reader will write to the Editor, or to me, stating that the trick will not work!

Provided the right materials are used, failure is impossible.

"COLD" HANDS

by Dr. JOSEPH H. FRIES Many very fine card tricks depend upon set-ups — that is to say: a prearrangement of all or some of the cards. When a set-up of the whole pack is necessary, resort is generally had to subtly exchanging the pack in use for the set-up or "cold" deck.

In cases where a set-up of but a few cards is necessary, the required arrangement can often be made in the course of preceding tricks but sometimes this is not practicable. The method I have devised provides for the addition of a set-up packet of cards to the pack, easily and without arousing any suspicion on the part of the onlookers.

Method: Beforehand set-up cards you require, say five or six, with one indifferent card on the top. Place the packet under your suspender on the left side opposite the arm hole opening of your sleeve. With proper tension of the suspender the packet can be held in position for as long a time as may be desired. To obtain the load, you proceed to use the classic "Cards Up the Sleeve" in this way: When you wish to introduce the trick for which the set-up packet is necessary, you remark that the popular saying "up his sleeve" is actually based on fact and you demonstrate the fact (?) thus: Hold the deck in your left hand face downward; with your right fingers push the top card forward an inch or so as you say "This card will fly up my sleeve. Watch it!" Turn your left hand over sharply and at the same time, with your left forefinger, pull the protruding card flush with the other cards. Make a gesture with your right hand over your left sleeve, allowing the spectators to see it is empty and then reach in under your coat and bring out the top card, (the indifferent card of the packet under your suspender), as if it came from the top of your sleeve. Put this card in the pack and continue "Any number of cards can be sent up the sleeve the same way."

Pull out a small packet, four or

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P.S.—Since writing about "Tipsy Joe" in May, I have been informed, on good authority, that there are

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three makes of the gadgets in question on sale in London. One works by mercury (quicksilver), one by sand and the third by oil. The latter is made by a firm specializing in jokes and toys. Their trademark is "Fairylite".

five cards, from the middle of the deck for an inch or so, repeat the rapid twist of your left wrist and this time produce the set-up pack from under your suspender. Casually spread the cards face down and then drop them on the top of the pack.

The whole action should be done as a flourish, a mere interlude, not as a set trick. For example, I use it after showing a few flourish cuts and shuffles and then proceed to show my version of the ACME POKER DEAL Effect: After the deck has been shuffled and cut, a spectator deals five poker hands. These are turned and shown. The pack is reasembled, shuffled and cut and the magician deals five hands. Again the hands are shown and the climax comes when the dealer's hand proves to be a Royal Flush: Ace, King, Queen, Jack and Ten of Spades!

Method: Make your "cold" hand with the required five high spades with one indifferent card on the top — but have the five spades in irregular order.

After doing your little interlude of passing cards up your sleeve, as above, execute a jog overhand shuffle and cut and hand the deck to a spectator asking him to deal five poker hands. When he has done so, pick up the hands, one by one and show them casually calling attention to the values. Drop them in turn on top of the rest of the deck, taking care, of course, that the order of the cards in each hand is not disturbed.

Use the overhand shuffle and jog and undercut as before then deal five hands. Yours will be the Royal Flush. The remark this procedure nearly always evokes is "Well, I won't ever play cards with you!"

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MAGICANA A magician says that the only coin that goes as far with him as before, is the half-dollar that rolls under the bed when he is practicing.

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Take yourself seriously but not big. * * * A magic trick may be likened to a bundle of small things held together by a thread; loosen the thread or break it and the trick is spoiled.

Hugard's MAGIC Monthly

BACKSTAGE (Continued from page 941) he needed them. Funniest idea — a spigot was pushed in the post. Bob turned it on, out gushed enough beer to fill his glass . . . Frances Ireland next with Vanishing Wand, the Repeat Bill Trick and a Chapeaugraphy routine pegged as "The Truman Hat" . . . Silent Mora! A real treat! Deft deceptions with touches of humor.

Outstanding his delightful bit of humor turning off a candle flame by twisting his right ear. Finish — a Vanishing Bowl effect that ended when his table turned into an oriental fan and Chinese walking stick . . .

Dr. Jaks predicted the name of a city someone would think of, amazed with his duplication of signatures while blindfolded and finished strong with an astonishing prediction in a sealed envelope which he had given to a spectator before the show . . . Manny Williams, a brash, talkative trickster, passed a borrowed bill into an egg and wound up to a good hand with his version of the snake basket . . .

Jay Marshall cut the cord in his Chinese Sticks. The two tasseled ends fell to the stage. Trick over. Very funny. Then two very funny stories about his "relatives," his mop routine and, for a smash finish, his usual vent, closer with his talking hand . . . Rigoletto Brothers. Tricks with needles, passe bottles and silks, sleight of hand with balls and cigarettes.

Their clever "impossible" balancing stunt, and a busker band finish. Heartwarming to see these veteran showmen just as smooth and effective as they were twenty-five years ago . . .

Finally, Long Tack Sam. Burnt and restored tapes, production of a tray of glasses from foulard and, believe it or not, his famous fishbowl production as he somersaulted! . . . A wonderful show and a great tribute to Long Tack Sam. From his first appearance to the final bow the audience was with him all the way.

SATURDAY SHOW

Staged in the beautiful John Hancock Hall, this was the only show away from the Statler. Milbourne Christopher was a smooth, effective M.C. His quick tricks seemed designed to tie in with each act. His novel "Troublewit" routine will probably start a new vogue with this classic. Chuck Harrison and his wife opened with an entertaining shadowgraph session . . . Tom Call made up as a miser slouched over a table and produced coins from the air, revelling in his wealth ... Dagmar and Company presented about forty minutes of big magic and illusions.

The tricks ranged from Suspension to the Disembodied Princess. Unfortunately many accidents marred the mysteries so perhaps the less said about specific items the better . . .

Rosita and Perez danced in Indian costume in Black Light . . . The Jenkins Brothers were two youngsters who sang, danced and played the piano . . . Livingstone in tails and white tie presented sleight of hand. Lighting difficulties caused a large portion of the act to be invisible from the front. Finish — a silk to

Hu-Gardenia$ to HERMAN HANSON

and his fellow officers for the magnificent success of the Golden Anniversary Convention of the Society of American Magicians sponsored by the Herman Hanson Assembly No. 9 at the Hotel Statler in Boston, Massachusetts, May 29th through June 1st, 1952.

Only one who has been behind the scenes can have any idea of the amount of arduous work in planning, organizing and carrying to a successful conclusion so great a task.

It would take a complete issue of this magazine to do justice to the results attained not only in the actual performance of magic but in its educational and social sides.

This Convention has added greatly to the prestige of the Magic Art in general and to the Society of American Magicians in particular and will long be remembered by all who were fortunate enough to be present.

light bulb which was screwed in a socket and lighted . . . Hit of the show was the juggling of the Rudenko Brothers. Their fast-paced dual manipulations got an ovation . . . Leslie Barrie in pantomime acted out a story.

His date apparently didn't show, so he produced silk stockings, lingerie, shoes, a dress, etc. to make a "dream girl". On his first show for American magicians he was nervous and worked at breakneck pace. The idea is ingenious. Perfect finish would

be for his production items to change into a live girl . . . Closing act — Kim (better known as Kuma). This oriental gentleman was as spry as ever. No one can touch his handling of the Tubes. Absolute master magic! From the copper water jar, a huge silk which his assistant and the M.C. held.

It covered him from view momentarily, then he stepped out in a completely different suit. A solid hand and several bows.

CLOSEUP SESSION

This was more general magic than closeup. Bert Allerton passed coins through his hand, worked the Afghan Bands, cut rope trick, and glass through table. Silent Mora presented his balls and net magic, Chinese Sticks, wand twirl ball drop move, and various boomerang card tosses. Jack Chanin's stretching and torn and restored yarn trick was a knockout. He also did magic with rope, glasses, salt and silks. Slydini and his pupil, Norman Nagle, offered a sponge ball sequence, torn cigarette routine, paper balls to hat and other Slydini specialties.

BANQUET SHOW

Lou Tannen has improved a hundredfold since he first showed magicians his silent act. It was good at first, outstanding now. From changing the flame of a candle to a silk to the huge birdcage from silk, the act held interest all the way. Very effective, his linking chain and production of stands a la walking sticks for small birdcages. A fine opener! . . . Gene Gordon had a huge imitation hand with billiard balls between its fingers. The balls changed color as he turned the hand. Three Card Monte, then two tricks with a spider.

The card-produoed-as-web-is-twirled stunt and the production of a web of chosen color yarn in another stand.

Very amusing—his Jumbo snake in the basket "Sorcar". From clicking teeth to Sympathetic Silks this presentation was entertaining . . . Slydini next with his silk knotting tricks, paper balls over spectator's head and Linking Rings. His pupil, Norman Nagle, demonstrated sleight of hand passes with balls and built to a big finish with his shower of silks at fingertips, concluding with a large flag . . . Betty and Tommy Tucker had a neat act.

They made a fine appearance and have smart chatter. First a dyeing silk routine and "explanation" then into a long telepathy session with Tommy in the audience . . . Scame demonstrated the cups and chicks and two card tricks. His passing cards to pocket was a lesson in technique . . . Stanley

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Hugard's MAGIC Monthly Burns racked up a hit with his vent act . . . DeLage and Shirley, as usual, scored solidly with their standard act.

An excellent choice for the closing spot. M.C. was Fred Keating in fine fettle. His stage presence, witty lines and droll presentation of the card in cigarette added greatly to the show.

GRIPES The Banquet Show ran too long.

About half the time would have pleased tired conventioneers more . . .

Too many performers left the stage to be lost in the audience as far as many viewers were concerned . . .

Despite several announcements that all shows would be on time, all shows were late . . . Many dealers scattered out in individual rooms on the 4th floor said they would be happier at future conventions in a large room together... It's sad that the big public show at the theatre had the most mishaps . . . The magicians were models of decorum throughout the convention, but the last night a dealer shot off fire crackers during the early morning hours.

CHEERS There was no difficulty about seats.

Early registrants got the best places . . . All committees functioned smoothly to make the visitor feel at home . . . The printed program was a slick job. Herman Hanson did yeoman work as general chairman... Good fellowship prevailed . . . The weather during the day was splendid for sightseers . . . Even when it rained at night one could eat, drink and make merry in the hotel without journeying through the downpour.

SIDELIGHTS Most colorful character — Bill Schreiber of Minneapolis in a shirt which was printed with cards in color.

He had a cap of the same material . . . Strangest dealer promotion — sound recorder in the Regow room which called attention to the Regow display . . . Biggest problem of Nelson Demers who won the Bromfield Trophy was to lift it. The impressive metal rabbit in hat on large black column was heavy enough by itself, but the equally impressive wooden chest specially built for it made it an immense piece to lug . . . Demers' prize winner was a story about a G.I. and a shot of liquor. The liquor was poured in one of three tomato cans taken from a large paper bag. There was a monte find-the-liquor bit, then the three cans were lowered in the bag and the bag crushed! . . . Bert Allerton had a boffo find-your-card trick during which he worked out the

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solution with a slide rule . . . There was a room on the 4th floor devoted to those who wished to show card tricks. Long after the displays were closed, in the early A.M. hours the take-a-card boys were regaling each other with pasteboard problems . . .

John Booth introduced Long Tack Sam on the Friday show with a few well chosen words telling that both Ching Ling Foo and Long Tack Sam came from Canton . . . Editor Jean Hugard was busy signing copies of the new, bound edition of Hugard's MAGIC Monthly and Bill Simon's "Effective Card Magic", which he edited . . . British dealer Harry Stanley had the most intriguing line of new tricks.

A cigarette that changed to a wand, a tiny box that magicked up four silks, a dagger that changed color on the handle end three times, a wand that apparently was screwed into a tiny stick, then unscrewed to its full length . . . Long Tack Sam told a rollicking story of how he demanded a certain salary early in his career and got it. Got more than he expected actually. He was thinking in shillings, they paid him in gold coins . . . Two new paddle ideas were popular. Abracadabra Shop had two paddles on which imitation house flies jumped back and forth, Irv Weiner had a paddle on which plastic spots adhered just by pressure . . . Gen Grant had an ingenious steel ball in silk through plastic trick.

NEW NOTES As predicted when the Palace changed back to its old policy, magicians were booked again. First two — Tommy Hanlon and Jimmy Jimae . . . Arnold Furst, too long away from the Big Town, is back. He's been playing with his two hour show through the West. Austin Davis who booked Birch and other famous men in the past, arranged his tours this past year. Between September and December Furst played the amazing total of 235 shows . . . Famous magic fan Fulton Ourlser died of a heart attack. He was 59. Co-editor of the American edition of Ottokar Fischer's "Ilustrated Magic," Oursler also wrote several pamphlets for the late Howard Thurston. One of his pseudonyms was Samri Frikell. Under that name in 1930 he published "Spirit Mediums Exposed." Another Oursler pseudonym was Anthony Abbott. He used this when he penned mystery stories. Of recent years he was a senior editor of Reader's Digest. His specialties — crime and religion. Under his own name he wrote two tremendously successful recent best-sellers, "The Greatest Book Ever Written" and

MIND OVER MATTER (Continued from page 944) the top of the deck. Instruct the spectator to affix the tape to the back of the Joker (really the three of hearts).

At this point, if you wish, you may double lift to prove that the tape is really on the Joker. In any event take the card with the tape and stick it to the wall or table with the back towards the audience. Put the red deck back in the case. This will automatically place the initialed joker between the two and four of hearts.

Seal the case with tape and ask the spectator to hold it in full view at all times.

Remove the blue deck from its case and fan the cards showing only the bottom half. The spectators will see that all the cards are different. False shuffle and invite a second spectator to select a card. As he is about to take one, change your mind and hand him the deck. Request him to deal the cards face down one at a time and stop whenever he chooses. Every odd card is the three of hearts. When he takes the three you may show the next card to prove that his choice was truly random. Put the blue deck back in your pocket. The trick is done. The acting, to achieve the proper climax, is up to you.

COMMENTS I have used this effect for the last three months and have found that it is suitable for a good size audience in a living room or as a stage effect with a small audience. The trick is strong enough to be used as a climax effect but it has this advantage: that if you want to continue doing magic you are left with a normal deck of cards.

"The Greatest Story Ever Told", both stories of the Bible. Oursler attended most of the big magic shows in New York and was a member of the Magicians Guild . . . Chan Canasta didn't make the Boston Convention because of London hotel bookings. Dai Vernon was on the High Seas, John Scarne took his place . . . Scarne has a new night club in New Jersey, "Scarne's Magic Club." It's worth a special trip. Johnny is there with his sleight specialties and Audley Walsh is usually around to show gambling devices.

In these TV dominated days with the nitery business in the doldrums Scarne deserves a citation for his new venture. Here's to his success! You have to be a magician to make a club pay off today.